A pitch is a spoken summation of a script with emphasis on
the main characters, the conflict, and the genre. However, for you to sit in front of that
production person, agent, or manager and spill out your story takes temerity
and courage.
What are the most common mistakes that pitchers make? What can you do to improve your pitch and
success rate? Remember, your success is
based on that check cashing and the camera rolling. Everything else is just practice.
The Top Five Pitching
Mistakes
Mistake #1 – Pitching scripts that are not complete, not
saleable, and not your best work
Writers are enthusiastic about their own material. It is natural to want to spread your
enthusiasm. You may want to pitch your
material before it is complete. Perhaps
you think to yourself that if they want the script so badly, they (the agent,
producers, managers, etc) will pay you to finish it? Perhaps you think that the self-same agents,
producers, managers, etc have the patience to allow you finish the product
before you turn it in? Yeah, I did
that. Burned some bridges along the
way. Don’t do it. Do not pitch material until it is
completed. Only in that way will you
know the story intimately enough to tell it in a convincing way. Also, the producers,’ agents,’ and managers’
time is precious and by pitching something that is not complete is wasting
their time and they do not forget that you manipulated them.
Mistake #2 - Tricking your way in
I know a female producer friend who went out on a first date
with a guy she really liked. Half way
through dinner, he pulled out a script and asked her to read it. Yeah, she read it. No, she did not buy it.
Do not deliver a script or treatment inside a prop -- pizza,
box of chocolates, even a ticket to the Laker's game. Your work has to stand on its own. I know that there have been exceptions to
this rule, but if you are pitching a truly great script you do not need these
tricks. I know it is tough to get in and
it seems like it would be better to use some kind of trick, but there are so
many better ways to get into this business. If your writing is good enough, the producers,
agents, and managers will come looking for you.
Mistake #3 - Pitching the wrong people
Do your own research.
If you are pitching a horror feature, pitch to production companies accepting
horror features. You are wasting peoples’
time if you pitch your horror story to a company that makes only romance. Yes, I know you did not do that
intentionally. You are aiming to get
your story out there. But, a little bit
of research will not hurt.
What do you do if you discover you are pitching to the wrong
person? Stop pitching right that moment.
Why? Because pitching a project that doesn't fit a
producer's market reduces your chance of ever doing business with them on a
future project. Ask about what they are
looking for and exit the conversation gracefully.
Mistake #4 - Flashing producers, agents, or actresses with
your script
One word – Don’t even think about it. Well, four words.
I was at Screenwriters Expo several years ago when Joss
Whedon spoke. After he had spoken and as
he was exiting the hall, people (I will not give them the title of writers.)
intercepted him with their scripts in their hands. They also threw scripts at him. Hey, those brads hurt.
Mistake #5: Thinking desperation is attractive.
You have passion in your own work. That behavior is something you must have as a
writer. You want to translate your
passion for your story into something you can convince other people to
buy. However, acting desperate in a
pitch is repelling. If you are
desperate, you are speaking from an internal place of failure. In your mind, you
have already failed, so you overcompensate in the belief that the behavior will
fool people. I know you have bills to
pay. I have got bills to pay. But if you chase people, beg, demand, break
down, and even declare that they are desperate not only will they reject you
out of hand, they will not forget.
Pitching to an agent
and producer – what are the differences -
If are pitching to an Agent, sell yourself more than trying
to sell your project. Agents are not
buyers. They cannot finance your movies,
but they are the doors to those buyers that you will need. Project an image of self-confidence along with
your knowledge as a writer and your love of the work.
If you are pitching to a Producer, pitch all of the talent
that you have as a writer and as a performer. You need to know your material backwards and
forwards. You need to show a great deal of self-confidence
and yet be willing to listen to their questions and ideas. Your attitude should always be “up.” Show your enthusiasm for your project in a
businesslike way.
A Possible Sequence of Events in Pitching
Introduced yourself
Say the title of our screenplay
Tell the listener the genre
Give a clear concise logline.
Drop the hook – a brief statement or
premise that brings the listener into the story
Stop talking – wait for the question and
answer period
Leave the listener wanting more.
Have a ‘take-away’ so that if the listener
wants more information you can provide that.
Some Last Words
Three words of pitch success - Practice, Practice, Practice
Practice
How you enter a room
How you introduce yourself
How you introduce your material
How you begin your story
How you engage with the person you are
meeting.
First impressions are everything – in person or on the phone
Sharpen your performance skills
After 30 days – call
After 44 days – call.
Ask them to return script.
Someone else is interested.
·
Accept the water
·
Do not talk business too soon
·
Access thoughts, feelings, and experiences
·
Start with silence
·
Lead with genre
·
Embrace the question and answer portion of the
session
·
Beware the trap of “who do you think should be
cast?”
·
Save a surprise for the end
·
Chose your battlefield carefully
Remember
Just remember, most producers, agents, and managers have the
attention span of a ferret on crack, so if you ramble or get off - track, they
are likely to start planning their next meeting before you're done. You need to engage the listener - tell them a
story - Start with the logline and then run through the rest of story hitting
the emotional high points – the hero, his goal, the conflict, what is at stack,
emotional turning points, and conclusion.
Yes, give them the ending. If the
listener starts looking at their watch or appears disinterested, tie it
up. Have a ‘go to hell’ plan - Ask if
they would be interested in another pitch.
If they agree to consider the script, stop talking. Make the most of your face time. Query letters are not going to cut it. Have a healthy self – esteem. Expect, even welcome, rejection.
12. Prolificacy
Prolificacy is defined as the property of producing
abundantly and sustaining vigorous and luxuriant growth. Nice, but what does that have to do with
writing? As a writer you must write. You must continue to write every day
regardless of whether you have been ‘struck by the muse’ or not. You must write at least one new scene every day. If you go back a re-visit previously written
scenes, that does not count. A. New.
Scene. Every. Day.
Got it? Good.
Why are you reading this?
Go write!
John still practices screenwriting
in King County, WA along with a small rat dog, a mortgage, and a great view of
the valley.
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